Choreography of moving images
The exhibited images of works of Mauricio and Matija Ferlin remind me of the relation between the frame and the image. The way the frame determines the matrix of the image and expresses nuances of meaning of visual substance, the work of two brothers, artists, is also complementary. Although they each create in his their own respective field, their works incessantly intertwine and intersect, seeming like an infallible and invisible connection, pulsating into impressive poetics. Images, created either in video, Mauricio's central domain, or else in dance, Matija's central domain, are basically defined by means of momentum of movement. Moreover, movement also extends to the incessant passage through artistic fields and genres, agitation over apparent borders of disciplines and their worn-out edges. The first impression of the relation between the frame and the image, which as a rule and customarily seems static, in Matija's and Mauricio's work overcomes the classical relation. In their case, it is marked by movement, transience and transportability. Each artist thus introduces his own web of meaning, while their elements occasionally merge, part again, nonetheless luring the viewer into the web, permeating him with an inventive choreography of moving images.
My note about the artistic work of Matija and Mauricio is grounded in the field of stage domain, where I have so far usually met the brothers - both together and individually. This particular domain imposes the comparison of movement relating to the frame and the image, each able to create its own field and yet to exist completely independently.
Mauricio's co-authoring dance performances of Slovenian choreographers Maja Delak and Mala Klina (Rondinella, HI-RES, Rodeo), his video tendency of reaching and layering, and conceptualisation of space and locations set up a lyrical veil as the base of the image. By means of poetical ringlets, it weaves an intimate atmosphere, which becomes home to movements and actions of dancers or else he completes them with digitalized images, in which Mauricio expertly captures the ephemerality of dance. Movements, full of emotional sediment, or choreographies of currently disappearing or frozen images, grow into an emotional screenplay of a hidden director. As opposed to the concealed weaver of thread and structure hidden in the background, Matija seems like a live image, signified through an existence of contemporary physicality. It is not only technically perfect movement, but rather a well-considered articulation of physicality, that tie the viewer with the sheer force of images and emotional expressions. Matija's work is a collage of emotional beats, physical expressions of contemporary dancing body as primary tools of articulated atmospheres of performance, dance sequences and actions. In other words, moving images and Mauricio's domain provide a mobile structure, a frame, bending the moving substance into a thoughtful sequence of intimate images. Interfusion and encounter of both is a precious moment of hidden intimacy and lyricism, enchanting the viewer with the profundity and touch of moving visuality and physicality.